Maryam Zanganeh

Introducing the rock art sites of the Teimareh (Serkoobeh region in ) and the feasibility study of organizing these sites in the form of the museum site

Abstract Rock art is one of the oldest works of art and history left by mankind. It is one of the best windows to get to the distant past through which various perspectives of the lives of the people of those ages can be seen. These works are handwritten documents that introduce researchers to translate cultures in different climates and times. One of the important areas of Iranian rock art is located in , Khomein and a region called Teimare, which contains vast resources from ancient Iranian rock art. Rock art in the world is valuable and important from a variety of perspectives and thus extensive efforts are being made to maintain and introduce them nationally and globally. The main purpose of this study is to present rock art areas and explore the possibil- ity of constructing a museum site in this region. Because if you know the rock art rightly and organize them, while preserving them for the future, you can take a great step in sustainable development and tourism development in the country. The present study was conducted to investigate the rock art of Serkobeh village in Markazi province, Khomein and Teimareh regions to introduce rock art and explore the possibility of constructing a museum site and to organize these sites in the area, in order to preserve and introduce rock art and make it possible to attract tourists. Keywords: Teimareh rock arts, Organizing plan, Protection, Museum Site

Introduction The typical rock art is a universal art which and the pectographs are created by using has the most prominent history among some colored materials. (same) other known arts and it covers a wide range which includes all the work done on Fortunately, during several years of re- the rock and is used to convey a message search in the caves and mountains of Iran or conceptual expression. (Rafifar. 2006: more than 50,000 examples have been 13) Iran is one of the countries which un- discovered in the 24 . It doubtedly has one of the richest museums should be noted that from the 50,000 ex- in this field. Works of great value and amples of rock paintings in the different abundance of rock art are scattered over parts of Iran, more than 21,000 belong almost all of this vast country. (same) to Teimareh. (Naseri Fard. 2017: 87) In In general, there are two basic forms an interview with Moon Art magazine of rock art: Petroglyph (carving) and pec- about the discovery of the Teimareh rock tograph (painting). Petroglyphic themes art, Farhdi defines Teimareh as: “much of are created by carving, polishing, scraping these discoveries are in the parts of the

64 Adoranten 2019 historical “Teimareh” which today includes The present study is aimed at investi- Golpayegan from province, gating the Teimareh rock art located near Khomein and Mahalat and Arak city the village of Serkoobeh in Iran and to of Markazi province”.(Moon Art. 1999: 2) study the possibility of a museum site in The city of Khomein has many carvings this area to identify and protect the rock related to various historical periods. Ac- art and help the tourist industry. cording to archaeologists such as Naseri Fard and Morteza Farhadi, some of these rock paintings date back forty thousand Background research years. All the rock art in the Teimareh are Study on prehistoric motifs compared to of the engraving type and a few have other archaeological studies is completely been created by painting or pitchograph- new in addition to the ignorance and ing. Tools used for engraving are: igneous availability of mountains to plains. Per- rocks, animal bones and metal. (Naseri haps this was due to the fact that such dis- Fard. 2017: 90. A) coveries were not attributable to museums Some of the remaining rock boulders in the world and not in the idea of find- in some of the sites of this city are easily ing a treasure and accumulated wealth; visible from the asphalt road and do not it looks like that. Fortunately the past 3 need climbing. A large part of the rock art decades some rock paintings have been of the village of Serkoobeh (the area un- discovered and introduced in the corners der study) belong to this category. (Naseri of Iran. (Hesar Noy. 2004: 180). Fard. 2008: 193) The history and background of Iranian According to experts, the eco-museum rock excavations have been studied by is a natural living site that displays the Italian researchers. In 1958, several rock identity of the region and local communi- motifs were discovered in Gazu, when a ties through which they introduce, inter- group of Italian geologists were working pret, manage and protect their cultural or to discover and extract minerals in the Ba- natural heritage. (Heidari: 83). The rock lochistan region. These discoveries can be art also belongs to these sites that, in ad- considered to be the first research on rock dition to introducing the nature of the formations in Iran. (Beik Mohamadi. 2013: region, also displays its cultural heritage. 122). The most important and most pro- (Lotfi Khachaki. 2009: 187) lific designs of Iran’s rock paintings are at Study of the status of Teimareh. In 1999 the collection of motifs and the income derived from it, shows in the region of Teimareh was published that although Iran is one of the ten most as a comprehensive book. (Farhadi. 1999: important countries in the world in terms 66-65) of historical and ancient monuments, it re- In Iran, various researchers have done ceives less than one thousandth of the an- a lot of research on this particular art and nual global revenue from tourism. (Arab. published the results in various books and 2015: 64) magazines. The first motif found in Iran belongs to the pictures of the mountain Kazakhstan has 719 examples of rock art range of Lorestan plain “It’s about six to and it has $ 2 billion in revenue from its eight thousand years old.” (Izad Panah. rock art, but we in our beloved Iran do 1985: 358) “The oldest works that have not have the slightest income, despite the been found is in the cave” ” in unique resources and ancient works like Lorestan, which is forty thousand years old rock art. (Karrari. 2018: 2) “ (Afshari. 2012: 164) Most of the rock art in open environ- Rock art studies in the Timar region ments are destroyed and vanished due to began earlier than in other regions, except natural factors like cold and heat, wind Lorestan but it is still at the beginning. and rain and freezing. (Naseri Fard. 2017: (Noorolahi. 2017: 88). Hamid Izadpanah 1. B) discovered these images in Lorestan prov-

Adoranten 2019 65 ince for the first time in 1970. After that, other and the world. The Professor McBurney has been excavating result is a compilation of three books on and speculating in these places. (Rezai & the subject; named: “Rocky Museum - Shariat. 2011. 3) McBurney’s preliminary Rock Arts”,” Iran petroglyphs - Ideogram report, after reviewing the rock motifs of Symbols “, “Iran petroglyphs – Universal Dooshe and Mirmas, in 1969, is the first Common Language”. (Naseri Fard. 2017: preliminary report on Iranian rock art. 5. A) (Beik Mohamadi. 2013: 122) Considering the abundance and impor- In the spring of 2004 an archeologist tance of rock art throughout Iran - and from the Belgian University of Liege under this is also a new and extensive study field the direction of Professor Marcel Augh in this research case - until now only a came to Lorestan to study these designs number of these works have been stud- and they have visited and sampled these ied and introduced. One of the available paintings. (Rezai & Shariat. 2011. 3) information is the book “Museums in the For the first time, Farhadi studied the Wind”, which provides pictures and in- rock art of this region (Markazi province) troduces rock art in Markazi and in the plain of Khomein and its neighbor- provinces. (Farhadi. 1999) ing regions (Teimareh, Gharghab, Ghidou In the neighboring countries of north- and Ashnakhor) which they owned forty ern and northeastern, this has been a re- thousand years ago. (Noorolahi. 20017: 89) markable achievement. In 1993, Farhadi conducted anthropo- Apart from the most prominent ancient logical research to the cultural background sites, such as the Republic of , of the old Teimareh (Khomein, , Gegham (Republic of ), Yazli Nimvar, , Golpayegan and Khansar) Kaya (Turkey), Tom Gley Tas (Kazakhstan), for the first time. With the help of local Sarmis (Uzbekistan), Cholpon Ana (Kyr- narrators and his students, he reported gyzstan), there are also extensive studies the existence of a large number of rock in progress in Australia and South Africa. art along with historical inscriptions at the site of Cham Asbeh, a tidal Gharghab lo- Up to a few years ago the archaeologi- cated 2 km north of Robat Gogad and 14 cal research of the Markazi province was km northeast of Golpayegan. limited and at an elementary level. The In this process, Farhadi is determined lack of coherent archeological research to document the collection of rock art in in the region has created a dark point in the old Teimareh area with a focus on the its archaeological studies, so today, our edges of the Ashnakhor river (between information about human cultures in the Khomein and Aligoodarz). (Arab. Hoor- region during various historical periods is shid. 2017: 124). These studies opened very incomplete, whereas in the past in the way for other researchers. (Noorolahi. neighboring areas of the region various 20017: 89) archaeologists have done investigations After that, Mohammad Nasseri Fard and their archaeological data has been conducted continuous research in the published. (Shirzadeh. 2013: 22) caves and mountains of Teimareh and

Map No. 1. Scattering of Rock Art in the world, Tiemareh (Khomein) and Iran. (Writer).

66 Adoranten 2019 Research method (). In the past, the city The present research is based on the ob- of Khomein was part of the vast area of jective of historical and descriptive mate- Belad Jebal (Ajam Iraq) from the fourth rial, thus this research is done through a climate, which has had various names descriptive-analytical method, in the his- throughout history: torical domain and through observation of In Islamic geography texts called Je- the documentary study method. The com- bal, Jebel, Qehistan and mountains and pilation of the material was collected at finally Ajam Iraq. (Ebne Faghih. 1971: a library and from field studies. The field 201) but later they also called it Teimareh, method is based on the familiarity of the Teimartin, and Kamareh.(Ghomi. 1934: 21) writer with the area, through visits of the Teimareh Oliya, is the current Khomein ancient sites in the area, by taking pictures and Teimareh, Sofla is the current Mahal- of existing samples, combined with the lat which the Greeks called Media. (Naseri information gathered from the old inhab- Fard. 2007: 15) itants of the area. From the provincial divisions of Khomein, two parts of Markazi and Kamareh and seven districts including Teimareh Ashnakhor, Rastaq, Chaharcheshmeh, Our field of study is one of the historical Galezan, Salehan, Khorramdasht and sites of Teimarh in the geographical area Hamzehloo have been formed. (Shirzadeh. of Iran, Markazi province, city of Khomein 2013: 23). (Map No. 2) and in the village of Serkoobeh. This area Serkoobeh village is located in the cen- (Teimareh) has seen human inhabitants for tral part of Khomein city and in the north- about 40,000 years (Ice Age). (Naseri Fard. eastern part of Hamzehloo district. This 2017: 87) village is located 3 km northeast of the Khomein is located at 50 degrees 5 min- village of Jahan Qal’eh and surrounded by utes east longitude and 33 degrees and 43 low mountains. In the middle of this beau- minutes north latitude and 1815 meters tiful and charming village there is a river above sea level. The total area is 2267 and its water is the source of the springs. square kilometers, located in the south- (Naseri Fard. 2007: 202). (Figure No. 1). ernmost point of the Markazi province which has many carvings related to various historical periods. (Naseri Fard. 2007: 9) The date of human settlement in The city is bounded from the north the city of Khomein to Arak from the east to Mahallat and According to the archaeological survey from the south to Golpayegan (Isfahan results of Khomein in 2009, the oldest set- province) and west to Azna and tlement period in the Khomein area dates

Map No. 2- Khomein and Serkoobeh village and Hamzahloo District located in the northern part of the central part of Khomein city (Writer)

Adoranten 2019 67 Figure No. 1- The main source of water of the village in the map and im- ages of the village model with a north-south view and a view from above the fountain to the village (writer)

back to the Neolithic era. After that, dur- exposed to sunlight have become black. ing the An exceptional privilege in this area is to Middle Copper Stone Age, the number reach the Rock Art. (The same) of human settlements on the sidelines of the seasonal rivers increased and it reaches its peak in the Sasanian period. (Shirza- The date of human settlement in deh. 2013: 21) the village of Serkoobeh Contemporary with the start of the Cop- per Stone Age , there are changes in the Serkoobeh Rock Arts patterns of the establishment of the re- As mentioned above, there is a river in the gion. These changes include the expansion middle of the beautiful and charming vil- of the settlement sites in different parts lage, and its water is the result of spring of the city of Khomein. Regional studies springs. Due to this river, the mountains show that the Copper Stone Age people and valleys are one of the most diverse were generally stationed along the sea- and oldest Iranian rock art areas. Rock sonal rivers and water springs. The num- paintings can be found from the ground ber of these sites is 15 in the Markazi prov- up to the mountain peaks. Some petro- ince and one of the most important ones glyphs are hard to see because of their old is the Sekoobeh area. The typology of the age and the color of the engravings due examples of these sites shows the impact to weathering and sunlight, similar to the of the cultures of the adjoining regions, bedding and some of them are separated especially the center of the from the mountain and the other part of and the central Zagros during the Copper the petroglyph remains to the wall of the Stone Age on the Copper Stone area of mountain. (Naseri Fard. 2007: 202) the region. (Shirzadeh. 2013: 26) Samples of different pottery can be found alongside the Rock art of the moun- tains. Historical and ancient Pottery with chalky, red, black and monuments of Serkoobeh different colors and even very different (writer’s observations and studies) designs. One can make various clay under- neath the very soft and white soils with a Serkoobeh Rock Art Sites- Site 1 dotted object.(The same) Site number 1, the closest site to the main The carving style is very different and road of the village which runs from the heterogeneous. The rock type of these south to Khomein and from the north to mountains is sedimentary in brown and the villages upstream and finally to the dark blue and the Petroglyphs that are Khomein-Arak road.

68 Adoranten 2019 A number of rock art panels of this site are lost due to the construction of this road and a lot of the petroglyphs of this site are damaged by destructive factors such as lichens, covering the rocks in the area and the fracture caused by erosion of the bedrock. Below are examples of rock paintings in this area. The themes of the graphs are based on the studies done by Dr. Mohammad Nasserifard in the Teima- reh area according to the following table and the biggest group is the mountain goat. (writer). (Table No. 1).

Table No. 1- Frequency of Rock Arts Based on Random Map No. 3- Locating the Six Rock Art Sites in the Map of Sampling (Naseri Fard. 2007) the Village (Writer)

row name of the drawing Percentage

1 88 Mountain Goat in different art styles

2 3 Man drawings in walking, riding (hunting, ritual dance, prayer, winged, war ...), dressed and without clothes

3 Hand painted paws, cups, symbols, linear symbols (pictorial, before Ilam, 2 Ilam, Pahlavi (Ham, Dehir and Half), Kofi, Arabic and Persian) and ...

4 Wild horse drawings, domesticated with ride and without riding in various 2 modes and tools

5 1 Camel drawing with a hump, two humps and Cows

6 1 Cats (leopard, cheetah, male and female and armored models) Dogs (wolves, dogs, foxes, jackals and hyenas), mousse, boars and ...

7 1 Deer motifs (Maral and Shuka), Birds, Rams, Snakes, Turtles and Fish

8 The designs of unknown animals and animals that do not exist today and 1 their generations are extinct

9 0.5 Geometric drawings

10 Plants: cedar, pine, heom and other shrubs 0.5

Adoranten 2019 69 Image No. 2 - Site 1 Rock Art of the village of Serkoobeh (Writer)

Figure No. 3 - Samples of stones in destruction of Serkoobeh village –site1(Writer)

Serkoobeh Rock Art Sites- Site 2 This site is the closest one to site 1. It is located at a very low elevation on the northern part of the site number 1 and is almost near the main road of the village. Below is a map of this site. The images of this site are more concentrated than site 1 and they are more secure with respect to the distance to the main road, although all of these sites are

Image No. 4- Rock Art Site 2 and view around- Image No. 5-Rock Art Site 2 - Examples of The image beæow shows the site’s proximity to rock art at this Site (Writer) the mainroad. (Writer)

70 Adoranten 2019 extremely vulnerable due to the presence of grazing livestock and not identifying and organizing them in the form of a site-museum by the cultural heritage of the region. (Writer)

Serkoobeh Rock Art Sites- Site 3 This site is located in the eastern part of the village , with pictures on boulders located on a flat and adjacent river that has dried out today, and it is the largest known site in the region as far as the number of graphs are concerned. This area is separated from the

Figure No. 6 – rock art Sample of rock art site 3 - (writer)

Adoranten 2019 71 village by low hills located on the hillside of Hamid Khatoon. The images in the rocks on the hillside are scattered and on the way to the main site the focus is more on the top and shortening the viewer’s walking path. This site is not very accessible due to the lack of a path or road. (Writer)

Site number 4 This site is located in the northern part of the village and in the Ghale Dashti area (as the inhabitants of the area), and in the southwestern part of the archipelago Qiz- Qale- Si and ancient sites 1 and 2, and in the southern part of sites 5 and 6. Its drawings are engraved on the surface of rocky substrates located on low eleva- tions shown in the image. The number of stones in this site is less than sites 1, 2 and 3 and unfortunately, some of these images have been largely eroded due to erosion Image No. 7- rock art site 4-Serkoobeh village (Writer) and mildew. As mentioned before, if you are above this hill, you find on the north-east, Qiz- Qale- Si and the ancient sites, south and north from here and on the northern side, sites numbered 5 and 6 and on the northwest side you will see the remains of the water mill in the spring water path (image no.9). (Writer) (Next page).

Site number 5 The site is the only site that has been iden- tified and registered by the cultural herit-

Image No. 8- rock art 4- Serkooeh. from right. Image: cups with the function of making extracts of sacred plants for ritual ceremonies, a single-humped camel with a rider, which is a symbol of modesty, and a Mountain goat (writer)

72 Adoranten 2019 Image No. 9 - Visibility from site 4 to the right: Qiz- Qale- Si , site 5 and 6, and water mill (writer). age of the region. It is smaller than the other sites in this region and unfortunately its drawings are also badly damaged.

Image No. 10 - Site 5 of the Serkoobeh rock art and a sample of the rock art of this site in the image on the right (Writer)

Site number 6 Site number 6 is located along site number introduced above. Unfortunately, it seems 5 and in the north of the village. Although that a part of the rock art at this site is it has fewer rock art boulders than sites 1, lost, partly due to the construction of the 2 and 3, it has more images and it is more road and partly due to the lack of identi- dense and healthier than its neighboring fication and treatment of damages due to site. In the following images, you can find atmospheric conditions such as sunshine, examples of stone foundations of this site. acid rain, lichen etc. (Writer) Other ancient and historical works of this village can be found in the ancient site of Serkoobeh and the historical hill Other historic and of Qiz- Qale- Si, which, fortunately, are ancient monuments registered by the national monuments There are historical and ancient monu- and have been discussed thereafter. Ac- ments in the village of which some of cording to the raccoon, there are five old them are registered in the cultural herit- mills along the main river and the agricul- age and tourism of the Markazi province, tural land. In fact, the old inhabitants of and of course, some of them have not yet this area, after harvesting of agricultural been registered to national monuments. products, especially wheat, carried out all Among the historical monuments of this stages of purification and eventually deliv- village are the 6 rock art sites that were ered flour to the village for consumption

Adoranten 2019 73 Image No. 11. rock art site 6-Serkoobeh village (Writer) or trade. Today, only the works of 3 mills Ancient sites of Serkoobeh village are on the way. In the following are pic- With the passing of the new Neolithic tures of the village’s first and closest mill period, the number of human settlements to the main sources of village water, along increases during the Cooper Stone period. with the location you see on the map be- Khomein’s copper and stone grounds can low in the village. (Writer) be examined in two separate groups. Areas that are formed in today’s blind and remote areas. These areas are less spacious and situated at a lower altitude than the first group ( hills and sites that are related to current and permanent wa- ter resources. Their formation and their period of establishment are subjected to water as a vital element) most of the time, they are temporary settlements and they are formed from the mountains and are abandoned after a short time.(Shirzadeh. 2013: 31) The ancient areas are prehistoric and state-owned, and located 2 km east of Serkoobeh village, by the Cultural Herit- age, Cultural and Tourism Organization of the Markazi Province to be registered in the National List of Iran, proposed at Image No. 12. A sample of the rock art site 6-Serkoo- beh village (Writer) the meeting of 2004 by members of the Markazi Provincial Registration Council. Image No. 13 - Pictures of the remains of the water mill The meeting was reviewed and approved and its location in the map of Serkoobeh village (Writer) and sent to the registration board for further steps. This work is located in a geographic location with a length of 41 66 41 and a latitude of 5 41 37 and at an altitude of 1791 meters above sea level, covering an area of 17400 square meters. (Sharahi. 2004: 5-8)

74 Adoranten 2019 Map No. 4: Locating rock art sites and other historical monuments on map - Organization of Mapping of the Country (Writer)

Map No. 5- on the right location of the ancient area 1,2 and in the left location of the Qiz- Qale- Si - Serkoobeh vil- lage

Adoranten 2019 75 Qiz- Qale- Si the east of the north and south of the hill. The historical cultural significance of Qiz- The natural conditions of sloping rocks in Qale- Si in the village of Serkoobeh, is the western part of the hill have caused related to the historical period and with a difficult access to the castle and better state ownership, 2 km east of the Serkoo- defense of it. There is no defensive wall or beh village. The Cultural Heritage, Cultural fence on the west side of the hill. In this and Tourism Organization of the Markazi part of the hill, at a height of 15 meters Province, for listing on the national monu- from the surface of the surrounding area, ments of Iran, proposed at the meeting the rocky architecture that is produced in of 2004 was reviewed and approved by the cliffs of the hills is formed. This crypt is the members of the Markazi Provincial not visible from the bottom of the hill; its Registration Office and submitted to location is completely hidden. (The same) the registration board for further steps. (Sharahi. 2004: 3-8) This work is located in Having left behind a few cliffs, it is pos- a geographical position with a length of sible to reach the crypt which has a steep 74 65 41 and a latitude of 97 40 37 and at slope at its entrance hall. This staircase an altitude of 1843 meters above sea level series consists of seven stone steps east- and covers an area of 17000 square me- ward and western with a relatively regular ters. (The same) lathe. The seventh step forms the basis of the surface, which, after leaving that This beautiful and ponderous work is cre- architecture, is vertical and rectangular ated in the depths of a pyramidal moun- in shape. The depth of this cavity reaches tain that has been seen on the wall of 6 meters and 80 centimeters to descend numerous monumental mountain goats of from this cavity, there are joints in the lon- the millennium. Perhaps the name of the gitudinal wall with a depth of more than village was taken from this mountain and 5 cm and a downward reach of more than the grave of the crypt. The name of this 15 cm. This crypt has been attacked for mountain was the mountain of secret (in profits many times, so that historical evi- Persian secret is ser and mountain is kooh, dence on the floor of the main cavity, that so mountain of secret is serkoohe) that is has determined the purpose and the rea- the mountain where the secrets are, and son for creating this architecture, has been over the course of thousands of years, the destroyed. From the main pore hole, it is Serkoohe transformed to the Serkoobeh. impossible to get to the other, because of (Naseri Fard. 2017: 127. A) filling the floor of this section. In the gen- eral survey, there is no evidence to suggest The gravestone of the cemetery dates the age or use of this cell. It is undeniable back to the millennium BC with respect to that this architecture was not linked to the the motifs around it (2000 BC to 6000BC). fortress and was probably used as a place There are also places for worship in the for burial in . (Sharahi. prehistoric and historical periods, about 2007: 8-12. B) 10 km from the catacombs below the hills, the ziggurat rocks (from the 2000 BC to 5000 BC) and the old and abundant an- Conclusion cient rock art in the mountains near this The existence of many ancient works pro- gravestone graveyard. (The same) vide a suitable place for attracting domes- tic and foreign tourists to the region. The The remains of the Qiz- Qale- Si (castle lack of infrastructure for economic utiliza- daughter) are seen as a ramming wall of tion of these historical and tourist attrac- the demolition, above the natural hills, 2 tions in the area, the need for periodic km east of the village of Serkoobeh. The controls of the ancient sites and history remnants of this fence, which appears to mentioned above, and the exposure to be off military use, can be reclaimed in the destruction of these works, seems to

76 Adoranten 2019 Picture 14- The right side- site 4 and the south-north view (bed path and platform for the proposed visit) and to the left- site 6 and 5, and the bed and north to south view (writer).

Map No. 6- Mapping Functional Map of the Village (Writer)

1-the violet indicates the recreation area 2- the green indi- cates the area of pilgrimage 3- the yellow mark the area of ritual and 4- the orange indi- cates the path”

Adoranten 2019 77 require the construction of a museum site 2. Afshari, Hasan. 2012. Iranian art from in this area. beginning to Islam. : Pazineh. On map No. 6, the zoning of proposed walking paths to visit are marked with 3. Izad Panah, Hamid. 1984. Historical orange. The proposed site for the design and historic works of Lorestan. Tehran: of the museum building is marked violet. Agah. Second edition. The museum can function as a base for visitors to enter the site to visit the sites of 4. Beik Mohammadi, Khalil Allah, Moh- the rock paintings, as well as to hold and sen. Jan Jan, Nasrin. Beik Mohammadi. display the artifacts on the site. It can also 2013. Introducing and analyzing the de- function as the center for the residence signs of the newly discovered Rock Arts and concentration of archaeologists for of the B-arges Sofla Collection (- the periodic control of the rock art and ). Quarterly Journal of Archeol- other ancient and historic works of the ogy of Iran- 2 (2): 121-140 village. The reasons for choosing a site for designing the museum include: the 5. Hesar Noy, Alireza. 2004. Darreh Ganj proximity of the site to the main road, Rock Arts – Taft city. Athar Journal 24 (35): the accessibility for visitors, the close 180-186 proximity to the village, the provision of museum security, the possession of state 6. Heidari, Fatemeh. Look at the typol- ownership and the lack of private prop- ogy of museums - from the Royal Citadel erty problems for the construction of the to modern museums. Institute of Humani- museum, archaeological examination and ties and Cultural Studies. lack of restrictions on the construction of the building in the area of interest and 7. Rafi Far, Jalaledin, and Javad. Ghand- the proximity to sites 1 and 2 of the rock gar. 2006. Arasbaran Rock Arts. National art and the convenience of visiting visitors Heritage and Tourism Research Center. from these two sites. In the following, the suggested model of the construction of 8. Rezaei, Mahdi, and Sahar. Shariat. the walking path and the viewing plat- 2011. Investigating the Causes of Restora- forms in parts of the site that is needed tion of Lorestan Rocky Art in the Late Is- to protect the rock boulders is suggested. lamic Period by Looking at Lorestan Rocky (Writer) Patterns (Homian, Mirmlas, Dousheh, and Halosh) Maryam Zanganeh Master of Architecture, Pars University of 9. Sharahi, Esmaeil. 2007. report of the Architecture and Art (Iran-Tehran) historical site in the village of Serkoobeh. Email: [email protected] unpublished in the archives of cultural heritage, tourism and arts in the province The article is an extract from the master’s of Markazi (Iran). (Sharahi. 2007. A) thesis of internal architecture - the Univer- sity of Architecture and Art of Pars, titled 10. Sharahi, Esmaeil. 2007. report of The “Interior Design of the Site of the Museum historical cultural significance of Qiz- Qale- of the Teimareh Rock Arts” Si in the village of Serkoobeh. unpublished in the archives of cultural heritage, tour- ism and arts in the province of Markazi (Iran). (Sharahi. 2007. B) Sources and references: 1. Ebne Faghih, Ahmad Ebn Mohammad. 11. Shirzadeh, Gholam, Ghafoor. Ka Ka, 1971. Alboldan. Tehran: Iranian Culture Manijeh. Mohammadi. 2012. Report on Foundation. first edition. the survey and identification of the ar- chaeological site of Khomein. Quarterly

78 Adoranten 2019 Journal of Archeology of Iran-Shushtar 18. Mahe Honar Monthly. 1999.Interview Unit: 21-40. with Dr. Morteza Farhadi. 18. Mahe Honar Monthly 17(2): 1-7 12. Farhadi, Morteza. 1999. Museums in the Wind - Introducing the massive collec- 19. Mohammadi Far, Yaghoob, and Esma- tion of newly Teimareh Rock Arts. Tehran: eil Hemmati Aznadariani. 2015. Introduce Allameh Tabataba’i University Press. and Analyze Rock Arts of the Malayer - Azandarian. QUARTERLY JOURNAL OF 13. Ghomi, Hasan. 1000. Ghom history. SOCIAL SCIENCES: number 64: 224-252 translated by Tajodin. Ghomi.1428. Gho- mology Center. Tehran: Toos Press. 20. Naseri Fard, Mohammad. 2017. Kho- main Historical Artefacts. Second edition. 14. Arab, Zahra. 2015. study the impact of Ghom: Navaye Danesh. (Naseri Fard. 2017. tourism industry on economic growth and A) development in Iran and OECD countries in 2010-2013. HONAR-HA-YE-KARBORDI 21. Nasri Fard, Mohammad. 2010. Rocky Journal of Art Faculty of Semnan Univer- Museum - Rock Arts, Iran petroglyphs - sity (5): 59-65 Ideogram Symbols. Khomein. 22. Naseri Fard, Mohammad. 2017. Iran 15. Arab, Kazem, and Shaghayegh. Ho- petroglyphs – Universal Common Lan- orshid. 2018. Kocherei Golpayegan Rock guage. Vasef publishing house. (Naseri Arts, Analysis and Typolog. PAZHOHESH- Fard. 2017. B) HA-YE-BASTANSHENASI IRAN – Bu Ali Sina University 7(14): 123-140 23. Naseri Fard, Mohammad. 2007. Kho- main Historical Artefacts. First edition. 16. Naseri Fard, Mohammad. 2018. In- Ghom: Navaye Danesh. (Naseri Fard. 2007. terview with Mohammad Naseri Fard. By A) Eshrat Karari. IRNA Research (1-3) http://www.irna.ir/fa/News/82809404 24. Norolahi, Ali. 2017.Yazili Chai, Gan- dom Kooh and Zagharm Rock Arts. Diyar 17. Lotfi Khachaki, Behnam. 2009. Tourism Jornal-A Local and Regional Studies Quar- as an industry. Rahbord Journal 1(2): 171- terly 1(1): 85-113. 206

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